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Multidisciplinary or post-disciplinary research is what is needed when dealing with such complex subjects as ritual behaviour. This research, therefore, combines ethnography with historical sources to examine the relationship between modern Greek death rituals and ancient written and visual sources on the subject of death and gender. The central theme of this work is women's role in connection with the cult of the dead in ancient and modern Greece. The research is based on studies in ancient

En Ciudad Juárez, México, en la frontera con Estados Unidos, los docentes de un programa de artes visuales realizan su trabajo en un contexto considerado como el epicentro del periodo más violento de la historia moderna en México, la llamada "guerra contra el narcotráfico", entre 2008 y 2012, con la presencia de cárteles del narcotráfico y de contingentes militares; este período se distinguió por violencias tan profundas e irreversibles, y más de 11,000 muertes en la entidad durante este período. En este documento presentamos resultados de una investigación en la que se emplearon técnicas de recolección y análisis de datos cualitativos, con profesores de artes visuales de la Universidad Autónoma de Ciudad Juárez. Se expone cómo las trayectorias personales y profesionales del profesorado han modelado sus estrategias pedagógicas, con el fin de que los estudiantes reconozcan las problemáticas del contexto social fronterizo, exploren las identidades y fortalezcan las experiencias vividas en esta cotidianidad conformada por diversas violencias profundizando en prácticas que promueven producciones artísticas en un espacio-aula expandido en el territorio fronterizo. Se encontró que las prácticas de estos docentes representan una vía para el cultivo de experiencias, por parte de los estudiantes de artes, que les permitan cuestionar esta situación problemática, mediante metodologías de producción colaborativas que tienen sus raíces en las pedagogías críticas. ; In Ciudad Juárez, Mexico, on the border with the United States, teachers of a visual arts program carry out their work in a context considered to be the epicenter of the most violent period in modern history in Mexico, the so-called "war against the drug trafficking ", between 2008 and 2012, with the presence of drug trafficking cartels and military contingents; this period was distinguished by such deep and irreversible violence, and more than 11,000 deaths in the state during this period. In this article we present the results of an investigation in which ...

APPROVED ; Marching band has a rich history. It was the original mode of communication and transportation for the military, has shown respect or support for a political stance, and has provided entertainment value. Since the 1970s, the marching arts have flourished in participation, instrumentation, and creative expression. The largest aspect that differentiates this activity from other musical endeavours is movement of the performers. It provides the listener with a visual to accompany the music, providing an extra-sensory experience. The existence of solos, duets, mixed chamber, choir, strings, and orchestra is minimal in the marching community. It is unclear why these performance groups (or soloists) have not been previously composed with movement in mind. However, one culprit for lack of repertoire for choirs and strings could be the absence of a regimented etiquette; although voice would be rather straightforward concerning marching, there are many things to consider when asking a string instrument to march, such as upper body movement and transportation of the cello and double bass. The use of contemporary-style composition and extended techniques is also very limited in this type of performance atmosphere. The six compositions in this portfolio were carefully constructed to acknowledge the physical limitations of instruments and performers while considering the properties of sound on which marching shows are based to provide a unique marching experience. These works are also a reflection of the direction in which the marching arts community can travel, such as the inclusion of soloists and ensembles and with contemporary compositional approaches.

AbstractOptic nerve glioma (ONG) is associated in 10% of patients with neurofibromatosis (NF) type 1. To date no consensus has been reached regarding the therapeutic approach and prevention of visual impairment in these patients. Reports in the literature vary from a conservative approach (observation) to the use of single treatment modalities or multimodality protocols of surgical removal, radiotherapy, and/or chemotherapy. We present our experience with two siblings with ONG whose mother carries cutaneous stigmata of NF type 1. The younger sister was diagnosed 3 years after the treatment of the older sibling following recommended imaging for screening. Postoperative follow-up for 11 and 15 years, respectively, demonstrated lack of tumor regrowth and preserved vision in the contralateral eye. We discuss the treatment strategy in pediatric patients with orbital ONG associated with NF type 1.

"In Fabricating Founders in Early Modern England, Lauren Horn Griffin argues that in order to understand nationalisms, we need a clearer understanding of the types of cultural myths, symbols, and traditions that legitimate them. Myths of origin and election, memories of a greater and purer past, and narratives of persecution and mission are required for the production and maintenance of powerful national sentiments. Through an investigation of how early modern Catholics and Protestants reimagined, reinterpreted, and rewrote the lives of the founder-saints who spread Christianity in England, this book offers a theoretical framework for the study of origin narratives. Analyzing the discursive construction of time and place, the invocation of forces beyond the human to naturalize and authorize, and the role of visual and ritual culture in fabrications of the past, this book provides a case study for how to approach claims about founding figures. Serving as a timely example of the dependence of national identity on key cultural resources, Griffin shows how origin narratives - particularly the founding figures that anchor them - function as uniquely powerful rhetorical tools for the cultural production of regional and national identity."--

The commemoration of wartime often has emerged alongside brutal practices waged on the enemy, and the photographed events at Abu Ghraib are no exception. Indeed, the composition of these images builds upon a visual history in which certain dynamics are represented within more general and often innocuous combat photography. This article focuses on two things in order to articulate this premise. The first is to outline how 'war trophy photography' is the result of the entwined practices of war photography and trophy collection. Mapped using a combined comparative historical approach and visual semiotics, this research draws upon three images, one from WWI, another from WWII, and one from Abu Ghraib. Specifically to highlight how posing within these photos acknowledges the images as trophies, the second function of this article emerges with the concept of 'commemorative violence', as the representation is fused with emotional communication and cultural memory.

International audience ; Visual Artists and Witchcraft: Magic as a Creative Tool for Political Struggle. Many contemporary artists call upon the iconography of witchcraft, rewriting its past stories, exploring current ones, or actualizing practices and gestures (Camille Ducellier, Tatiana Karl Pez, Myriam Mihindou). Beyond folklore and esotericism, the witch is for these artists a figure of female emancipation with powerful subversive potential. Since the creation of the W.I.T.C.H. and the birth of anti-nuclear movements in the United States in the 1970s, women have emerged as producers of rituals capable of generating collective power from different perspectives of struggle (feminist, ecologist, anti-capitalist). This militant projection is now resurfacing with force, particularly through the first gatherings of Witch Bloc Paris. Artists are also reviving the tradition of ritual, designing actions whose objective is to bring politics and magic together. In this paper, we will question how artists reinvest ritual practices associated with the imagination of witchcraft, while proposing new forms of creative resistance.

International audience ; Visual Artists and Witchcraft: Magic as a Creative Tool for Political Struggle. Many contemporary artists call upon the iconography of witchcraft, rewriting its past stories, exploring current ones, or actualizing practices and gestures (Camille Ducellier, Tatiana Karl Pez, Myriam Mihindou). Beyond folklore and esotericism, the witch is for these artists a figure of female emancipation with powerful subversive potential. Since the creation of the W.I.T.C.H. and the birth of anti-nuclear movements in the United States in the 1970s, women have emerged as producers of rituals capable of generating collective power from different perspectives of struggle (feminist, ecologist, anti-capitalist). This militant projection is now resurfacing with force, particularly through the first gatherings of Witch Bloc Paris. Artists are also reviving the tradition of ritual, designing actions whose objective is to bring politics and magic together. In this paper, we will question how artists reinvest ritual practices associated with the imagination of witchcraft, while proposing new forms of creative resistance.

Political monuments in Europe played an important role in the construction of national traditions and as spectacles of governmental power in the nineteenth century. But while the genre of the heroic statue had waned in Europe and America by the 1960s, it was an important convention utilized by the newly independent country of Jamaica to authorize a new concept of the self that had been marginalized under colonial rule. As a new and different model of achievement, the local and mostly black "ancestral" heroic figures and their attending monuments served to instill a sense of pride and confidence in the populace, which in turn gave legitimacy to the new leadership base of the present. Visual displays are part of the social practices of memory that create and reinforce political communities. This article therefore addresses the aesthetic terms by which a "bold" national history, to quote Edna Manley's description of Bogle, is established, fashioned, or brought to material life. How do images participate in the constitution of identity through history, and what are the ambivalences or tensions such displays reveal about the political culture of the new nation?

1. Introduction: Perspectives on Agency and Citizenship (Diego Palacios Cerezales and Oriol Luján) -- 2. Plebiscites on the Streets: The Politics of Public Acclamation in Early Nineteenth-Century Europe(Theo Jung) -- 3. Visual History and Informal Politicisation in the nineteenth Century: The Example of Political Iconoclasm (France, 1814-1871) (Emmanuel Fureix) -- 4. Royalist Women in the Marketplace: Work, Gender and Popular Counter-Revolution in Southern Europe (1814-1830) (Álvaro París) -- 5. Women, Politics, and Politicization in Spain (1808-1874) (Florencia Peyrou) -- 6. Citizens, Subjects and Recruits: Changing Perceptions of State, Administration and Individual in the City of Mainz, 1790-1814 (Volker Köhler) -- 7. Militias and Volunteer Forces: Popular Mobilisation in Times of Revolution (1820-1843) (Jordi Roca Vernet) -- 8. Political Actors thanks to, or Despite the Law? The Empowered Voices of Individuals in Nineteenth-century Electoral Claims (Oriol Luján) -- 9. Hoarse Throats and Sore Heads: Popular Participation in Parliamentary Elections Before Democracy in Nineteenth-Century Britain and France (Malcolm Crook and Tom Crook) -- 10. Voluntary Associations and Political Participation (Maartje Janse) -- 11. Signatures of Conservatism: Petitioning, Popular Politics and Campaigns against Reform in Britain, 1780-1918 (Henry Miller) -- 12. Catholic Transnational Repertoires in the Nineteenth century. Signatures, Newspapers, and Organisation (Diego Palacios Cerezales).

Resumen:Pensados como objetos que representan el espacio geográfico de una época determinada, los mapas han constituido una valiosa fuente de información para los historiadores. Sin embargo, son más que meros registros del espacio pues, más bien, son artefactos visuales que configuran, vehiculizan y comunican una idea particular de cómo es el mundo. En ese sentido, este ensayo busca plantear algunas consideraciones para pensar en la complejidad de dichos objetos, a fin de dar cuenta de sus contextos de producción impresa y situarlos dentro de una cultura visual más amplia. Para el caso de los mapas del México independiente, esto debe hacerse siempre en función del paradigma del conocimiento geográfico que se gestó a lo largo del siglo xix, así como de la revisión de sus dimensiones materiales. En suma, este trabajo se propone conjuntar dichas aristas para mostrar cómo la cartografía decimonónica puede contribuir a explorar la historia cultural en cuanto a dimensiones visuales, editoriales e intelectuales, en un momento histórico en que la geografía y la delimitación territorial constituyeron aspectos cardinales dentro del proceso de formación del Estado-nación mexicano.Palabras clave: Cartografía, representaciones culturales, cultura visual, siglo xix.Recepción: 21 de enero de 2021 Aceptación: 13 de abril de 2021 Abstract:Considered as objects that represent the geographic space of a given time, maps have been a valuable source of information for historians. However, they are more than mere records of space because they are objects that configure, convey and communicate a particular idea of what world is. In this sense, this article wants to raise several issues to consider the complexity of these objects, in order to account for the context of print production and place them within a broader visual culture. In the case of maps of independent Mexico, they must always be done according to the paradigm of geographical knowledge that was developed throughout the 19th century, as well as the review of its material dimensions. In sum, this work aims to bring together these perspectives to show how nineteenth century cartography can contribute to exploring cultural history in its visual, editorial and intellectual dimensions, at a historical moment in which geography and territorial delimitation were cardinal aspects in the formation of the Mexican nation-state.Key words: Cartography, cultural representations, visual culture, 19th century.

This study examines self-portraits of young women from the United Arab Emirates in the online photo-sharing website Flickr. The primary focus of this research is to study how young Emirati women represent themselves and construct their identities in new media through visual self-representations.The study concentrates on the images of members of Flickr group BanaaT UAE, out of which 170 members' images are selected as a sample for content analysis. The sample of self-representations is subjected to a historical and cultural comparison and contemplation with emphasis on national identity politics. In the analysis, the photographs are analysed against a backdrop of the history of the UAE, women's social standing, local and colonialist visual traditions as well as new information and communication technologies (ICTs).The research findings indicate that the young Emirati women do not publish classic self-portraits with identifiable features as out of the 8,248 images studied in all, just seven included recognisable facial features, six of them children's and only one young woman's. Despite this, the study concludes that for these young women, Flickr is both a site of display as well as audiencing with its own socialising practices. Indeed, the photographs studied appear to have gotten their meaning from the fact they have been put on exhibit, underlying an importance of being seen. Asiasanat:United Arab Emirates, Flickr, women, photograph, self-portrait, identity

This research focuses in an effort for making a history some possibilities tosanction audio visual communication service law in Argentina. This process is understood as a result – among many others- of the historical fight for communication democratization which according to the our understanding – as we will mention later- is the society democratization. ; El trabajo que desarrollaremos se centra en el esfuerzo por historizaralgunas condiciones de posibilidad para la sanción de la Ley de Servicios deComunicación Audiovisual en Argentina. Este proceso lo entendemos comoun resultado (entre muchos) de la lucha histórica por la democratización dela comunicación que según nuestro entender, como veremos luego, es lademocratización de la sociedad.